Category Archives: Classic Country Singles

During the first decade of the twenty-first century, the antiseptic depictions of faith that have dominated contemporary Christian music began to seep in to country music.

This perception created records both good (“Jesus, Take the Wheel”) and bad (“The Little Girl”), but most of them were bland, adding going to church on Sunday or praying as just one of the token traits of southern life, no more or less significant than the fried chicken or football game that followed the morning services.

In one of the genre’s great ironies, Randy Travis had crossed over to contemporary Christian music, having had little luck on the radio since the late nineties. He brought country music’s love of fallen angels along with him, and with “Three Wooden Crosses”, he managed to found his way back to the top of the country charts without even trying.

It starts off like an off-color joke that shouldn’t be told in polite company, let alone on the radio dial next to Martina McBride’s “Blessed” and Craig Morgan’s “That’s What I Love About Sunday”: “A farmer and a teacher, a hooker and a preacher, ridin’ on a midnight bus bound for Mexico.” The story that unfolds reveals that one of these four travelers will be instrumental in spreading the Good News for a long time to come.

But because it manages to humanize all four of them along the way, revealing how each of them helped make the world a better place, its ultimate message is that our lives are best defined by what we do when we’re at our best, not by the labels that may be assigned to us through occupation or personal choices.

In her memoir Composed, Rosanne Cash describes a handful of prophetic songs that she has written as being “Postcards From the Future”, describing life events in detail before they happen. The most haunting example of this is “September When it Comes.”

She had written the lyrics in the nineties, scribbled quickly on a piece of paper while she was on the Long Island Expressway. At the time, her father Johnny was suffering through a health crisis. The lyrics describe her preparing for the impending death of her father, the time of reckoning described as September, a beautiful metaphor for the autumn years of life.

Her husband, John Leventhal, discovered the lyrics and wrote the music to go along with it. He suggested that it would be a perfect duet for her to do with her father. She struggled with the idea for months, before finally calling her father up to ask him to sing on the record. After a few moments thought, he responded, “I’ll have to read the lyrics first.”

She flew down to Nashville and delivered them in person. He quickly agreed to sing on the song about his own impending mortality. Though he was in poor health and struggled during the recording session, he insisted on completing three takes. As he sang the lyrics, Rosanne cried quietly on the other side of the recording glass.

“September When it Comes” was released in the spring of 2003, the centerpiece of Rules of Travel, Rosanne’s first studio album in eight years. A few months later, the song’s prophecy came to fruition. Johnny Cash died in the early morning hours of September 12, 2003.

The eerie accuracy of the timing aside, the song is a quiet masterpiece in its own right. It captures the pain of losing a parent to a crippling illness, but also the peace that comes with the knowledge that they have a reached a place that they can rest, and fall into the loving arms of those who wait for them.

More so than any of the work that Johnny Cash recorded in his final year or that Rosanne Cash has recorded since his death, “September When it Comes” is the most beautiful swan song for both Johnny’s musical career and this father-daughter relationship.

In which preaching to the choir takes on an entirely different meaning.

Donna Fargo burst on to the country scene in 1972 with the gold-selling hits “The Happiest Girl in the Whole U.S.A.” and “Funny Face,” which helped establish her as a burst of positivity against an increasingly dour national landscape.

The Watergate scandal challenged Fargo’s shiny outlook on the world, and influenced the material of her 1974 album Miss Donna Fargo. The second single, “U.S. of A.”, found her speaking to the country directly, celebrating that the country’s strength comes from its plentiful natural and human resources.

That song went to #9, but it was the follow-up to a #1 hit, one of Fargo’s first big hits to come from an outside writer. Built upon the biblical passage Matthew 5:16, it is a challenge not to those who do not have God in their life, but rather those who claim that they do:

How can you ask for truth when you do not truthful live?
How can you ask forgiveness when you don’t forgive?
I don’t mean to bring you down or speak to you unkind
But you can’t be a beacon if your light don’t shine

How can you ask a child to be honest and true,
When he can only judge what’s right by what he sees in you?
How can you offer vision, yet walk around blind?
No, you can’t see a beacon if its light don’t shine

The message of the song is that you can’t allow God’s light to shine through you if you’re using it to spotlight the failings of others. If you’re going to claim the moral high ground, you can’t throw water balloons on the rest of us while you’re up there.

What keeps her from crossing over from preacher to preachy is the final verse, which essentially encapsulates what it means to be a person of faith in the first place:

May God’s love surround you, may you find a brighter day
May He grant you the peace you seek in every way
God’s light burns in each heart, yours and mine
And you can be a beacon if you just let it shine

Proclaimed against a backdrop of church organ and gospel choir, “You Can’t Be a Beacon (If Your Light Don’t Shine)” is a challenge to fellow believers to practice what they preach through action, not just word. If you feel a little guilty listening to it, as I often do, it’s a pesky little reminder to be what you claim to be.

The structure of “The Three Bells” should be familiar to any listener of contemporary country music. A genre that prides itself on its simplicity is ambitious enough to tell an entire life story in under four minutes. It’s an approach that has created several classic singles like “Where’ve You Been” , “Time Marches On” and “How Can I Help You Say Goodbye.”

One of the most significant historical examples of this structure comes from The Browns, who had a massive crossover hit with their 1959 single “The Three Bells.” It’s a simple tale. The church bells ring three times throughout the course of Jimmy Brown’s life: on the day of his baptism, the day of his wedding, and the day of his funeral. The preacher has words of wisdom for each occasion, ones that would be familiar to any Christian churchgoer, Catholic or otherwise.

That the character shares the same name as lead singer Jim Ed Brown and takes place in a little country town might lead you to believe that this was a song of Nashville origin, but it actually began its life and its worldwide success in France as the story of Jean-François Nicot. Originally written in French, “Les Trois Cloches” was an international hit for Édith Piaf, the songstress that was recently immortalized in the film La Vie En Rose. The Browns, composed of siblings Jim Ed, Maxine, and Bonnie, had been performing the song since seeing it Les Campagnons de la Chanson performing an English-language version on the Ed Sullivan Show in 1952.

When they finally went into the studio to record it in 1959, The Browns thought they were at the end of their recording career. They had just told RCA that the family act was breaking up, despite having enjoyed moderate success since 1954 with eight top fifteen singles. What was intended as their swan song became their signature instead, catapulting them into nationwide fame. Not only did it spend 10 weeks at #1 on the country singles chart, it also topped the pop chart for four weeks and even reached #10 on the R&B chart.

“The Three Bells” came at a time when country music was enjoying its first major crossover success, topping the pop chart a few weeks after Johnny Horton (“The Battle of New Orleans”) and a few weeks before Marty Robbins (“El Paso.”) Robbins, Elvis Presley, Johnny Cash and The Everly Brothers dominated both the pop and country surveys, Guy Mitchell scored a #1 pop hit with his covers of “Heartaches By the Number”, and even two of the big pop stars of the day – Conway Twitty and Brenda Lee – would ultimately find their way to country music and make it their permanent home.

Meanwhile, The Browns would fare better on the pop chart with their next two singles, but continued to be a presence on country radio until the sisters retired. The man who sang lead on the definitive three act country song would have three acts to his own career. After The Browns came to an end, Jim Ed Brown launched a successful solo career, with his 1967 hit “Pop a Top” becoming a bona fide classic later resurrected by Alan Jackson. As the solo hits began to wind down, he reinvented himself as one half of a duo with Helen Cornelius. Their 1976 debut collaboration “I Don’t Want to Have to Marry You” took Brown to the top of the singles chart for the first time since “The Three Bells”, and earned them both the CMA award for Vocal Duo in 1977.

“The Three Bells” has crafted quite a legacy of its own, with versions released by everyone from Ray Charles, Alison Krauss, and Roy Orbison to Sha Na Na, Nana Mouskouri and Andy Williams. For modern country fans who haven’t encountered this classic yet, the structure will be instantly familiar.

The Three Bells
The Browns
1959
Written by Dick Manning, Bert Reisfeld and Jean Villard

The structure of “The Three Bells” should be familiar to any listener of contemporary country music. A genre that prides itself on its simplicity is ambitious enough to tell an entire life story in under four minutes. It’s an approach that has created several classic singles like “Where’ve You Been” , “Time Marches On” and “How Can I Help You Say Goodbye.”
One of the most significant historical examples of this structure comes from The Browns, who had a massive crossover hit with their 1959 single “The Three Bells.” It’s a simple tale. The church bells ring three times throughout the course of Jimmy Brown’s life: on the day of his baptism, the day of his wedding, and the day of his funeral. The preacher has words of wisdom for each occasion, ones that would be familiar to any Christian churchgoer, Catholic or otherwise.
That the character shares the same name as lead singer Jim Ed Brown and takes place in a little country town might lead you to believe that this was a song of Nashville origin, but it actually began its life and its worldwide success in France as the story of Jean-François Nicot. Originally written in French, “Les Trois Cloches” was an international hit for Édith Piaf, the songstress that was recently immortalized in the film La Vie En Rose. The Browns, composed of siblings Jim Ed, Maxine, and Bonnie, had been performing the song since seeing it Les Campagnons de la Chanson performing an English-language version on the Ed Sullivan Show in 1952.
When they finally went into the studio to record it in 1959, The Browns thought they were at the end of their recording career. They had just told RCA that the family act was breaking up, despite having enjoyed moderate success since 1954 with eight top fifteen singles. What was intended as their swan song became their signature instead, catapulting them into nationwide fame. Not only did it spend 10 weeks at #1 on the country singles chart, it also topped the pop chart for four weeks and even reached #10 on the R&B chart.
“The Three Bells” came at a time when country music was enjoying its first major crossover success, topping the pop chart a few weeks after Johnny Horton (“The Battle of New Orleans”) and a few weeks before Marty Robbins (“El Paso.”) Robbins, Elvis Presley, Johnny Cash and The Everly Brothers dominated both the pop and country surveys, Guy Mitchell scored a #1 pop hit with his covers of “Heartaches By the Number”, and even two of the big pop stars of the day – Conway Twitty and Brenda Lee – would ultimately find their way to country music and make it their permanent home.
Meanwhile, The Browns would fare better on the pop chart with their next two singles, but continued to be a presence on country radio until the sisters retired. The man who sang lead on the definitive three act country song would have three acts to his own career. After The Browns came to an end, Jim Ed Brown launched a successful solo career, with his 1967 hit “Pop a Top” becoming a bona fide classic later resurrected by Alan Jackson. As the solo hits began to wind down, he reinvented himself as one half of a duo with Helen Cornelius. Their 1976 debut collaboration “I Don’t Want to Have to Marry You” took Brown to the top of the singles chart for the first time since “The Three Bells”, and earned them both the CMA award for Vocal Duo in 1977.
“The Three Bells” has crafted quite a legacy of its own, with versions released by everyone from Ray Charles, Alison Krauss, and Roy Orbison to Sha Na Na, Nana Mouskouri and Andy Williams. For modern country fans who haven’t encountered this classic yet, the structure will be instantly familiar.
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It has finally cooled off here in Southern California, so I'm headed out to the Stagecoach Festival in Indio, California this weekend, April 25-26! The country cousin of Coachella, Stagecoach is now in its third year and will be playing host to nearly 40 acts, including Reba McEntire, Brad Paisley, Little Big Town, Lady Antebellum, Darius Rucker, Kenny Chesney, Zac Brown Band and Miranda Lambert.

I'm excited for the festival, particularly because it hosts a mix of country music, from mainstream country to bluegrass, folk, roots rock and alt-country. With three different stages – appropriately named “Mane,” “Palomino” and “Mustang” – set on the beautiful Empire Polo fields in Indio, the Festival provides a fantastic opportunity to check out the entire gamut of styles and personalities in country music.

I'm setting out to review as many of the performances at Stagecoach for Country Universe as possible, but I recognize that it may be hard to hear every single act. So, I am asking you guys, the readers, to help me out:

Which five (5) acts performing at Stagecoach do you most want to read about here at Country Universe? Any burning questions you want answered?

Successful country singer Dan Seals has passed away at the age of 61. Seals had a long run at the top of the country charts after a pop career as one half of England Dan and John Ford Coley. After the duo scored a huge hit with “I’d Really Love to See You Tonight,” Seals returned to his country roots.

Although he had a string of country hits, he is most remembered for his two award-winning chart-toppers. In 1986, he won two CMA awards: Single of the Year for “Bop”, and Vocal Duo of the Year for “Meet Me in Montana”, his collaboration with Marie Osmond.

Seals is survived by his wife and his four children. Share your memories and tributes to his music in the commments.

When asked her favorite song among all those she has written, Dolly Parton always answers, “Coat of Many Colors.” It’s a true story from her childhood that speaks volumes about her pride for her own heritage, much like Loretta Lynn’s “Coal Miner’s Daughter.”

She writes in her autobiography that when she was a young girl, her family was “as poor as Job’s turkey.” People from the area would drop off bags of clothing scraps for them to use for clothing for the children. Parton’s mother usually tried to make the scraps match as much as possible when tailoring an outfit, but knowing Dolly’s personality, she decided to make a coat “out of the brightest, most different colors she could find. This was going to be a colorful coat with no apologies.”

As documented in the song, Parton’s mother told the story of Joseph and his coat of many colors as she sewed a coat for her daughter. What made the coat so special wasn’t just the design, but the amount of time spent on it. “When there are so many kids in a family,” she writes, “you can imagine how a mother’s time is to be divided up between them. So to see my mother spending this much time to do something just for me was special indeed.”

Since Dan has clearly tapped into a burning nostalgia for the first decade of this century, I’ll ask the logical follow-up question: What are the key albums of the decade, so far?

For me, the top one’s a no-brainer. Home, the Dixie Chicks masterpiece. Nothing else even comes close in my mind. But I’d add a few others to the short list, especially Gary Allan’s Tough All Over and Lee Ann Womack’s There’s More Where That Came From.

One thing’s for sure. You can strike this year’s CMA Album nominees from serious contention.

I love my job. I love going to school. I love teaching religious education. But this was one of those weeks where the teaching, the classes, and the supplementary professional development workshops became a little overwhelming. Earlier today, one of my graduate classes ended. I loved the class, but it’s nice to have my Saturdays back. I need a break!

Thankfully, my amazing writing staff has made my absence unnoticeable, but as I make my return, I’m thinking tonight about songs that capture that “I need a break” feeling. Here are some of my favorites:

“I Fall to Pieces” is a part of country music’s culture due to its heartbreaking content and the lush musical setting that stands as Cline’s signature sound. The tale of a woman’s loss of hope after the end of a love affair connected with a mass audience upon its release in 1961 and continues to be a landmark of the genre.

The song was written by legendary songwriters Hank Cochran and Harlan Howard, who met in California in the early 1960s and soon became writing partners. One night, Cochran came up with a title, and he met up with Howard at his house the next day, where they finished writing the song. The demo version was recorded by Howard’s wife and country singer, Jan Howard. Harlan Howard pitched the song to Decca producer, Owen Bradley, who then attempted to pitch the song across Nashville. “I Fall to Pieces” was turned down numerous times, first by Brenda Lee, who found the song “too country” for her pop style. Bradley then asked Roy Drusky to record it, but he turned it down, believing it to be a woman’s song. Patsy Cline overheard Drusky’s argument with Bradley about the song and asked if she could record it instead.

When Cline began recording the song in November 1960, she felt that a pop-leaning number would not suit her voice or her music, but after several arguments with Bradley, she relented and sang “I Fall to Pieces” in the manner he intended. By August 1961, the sophisticated ballad had peaked at No. 1 on the country chart (her first No. 1) and reached No. 12 on the pop chart. It would be one of several crossover hits for Cline, whose inimitable voice continues to inspire legions of fans.